Markus Schröder & Hermann J Höper - Skulptur Projekte Muenster 07 (2007)
Sunday, June 1, 2008
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The sculpture projects muenster 07 have taken place for the fourth time in the summer of 2007. The exhibition presented the works of 36 artists from all over the world. The curators were Brigitte Franzen, Kasper König and Carina Plath.
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Michael Pilz - Facts for Fiction (Index 027) (1996)
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The work of Austrian filmmaker Michael Pilz presented in Facts for Fiction questions the viewer's perception of spatial and temporal structures. Situated between fictional and documentary filmmaking, he discovers mistery and fact on the same road.
Ob er nun sogenannt dokumentarisch oder sogenannt fiktional arbeitet, ob mit 16mm, 35mm oder mit High-8-Video: Für Pilz steht das Wahrnehmen im Zentrum, der Film/das Video als Dispositiv, als Bedingung für die raumzeitliche Organisation einer Betrachtung. Damit ist zunächst das bloße Hinhören und Hinschauen gemeint, aber auch ein Gespür für Begegnungen mit Menschen, für deren Umgang mit dem Raum, in dem sie sich bewegen, mit den Dingen, die sie umgeben. Dieser Sinn für die Wahrnehmung zieht sich durch das gesamte Werk. (Christa Blümlinger)
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Klaus Kertess - Trisha Brown Interviews (2003)
Friday, May 30, 2008
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Trisha Brown was an early participant in the expanded cinema and new dance movements in New York City in the 60s and 70s. For Homemade (1966), she performed a dance with a movie projector to her back that threw a film of her dancing created by Robert Whitman on the wall behind and above her, complementing her movements and fracturing the space of the performance. She continued to have an interest in film and video in reconceptualizing dance and performance art in the 70s and 80s.
This is a companion dvd to the Early Works, 1966-1979 dvd in which she talks with art historian Klaus Kertess about her dance education, her work with the Judson Dance Theater and her fellow choreographers.
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Trisha Brown - Early Works, 1966-1979 (1966)
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Trisha Brown, one of the most acclaimed choreographers of contemporary dance, first came to notice in New York in the 1960s. Along with like-minded artists,Yvonne Rainer, Steve Paxton and Simone Forti, she pushed the limits of what was then considered appropriate movement for choreography, and changed modern dance forever. Founding her company in 1970, Brown developed her own choreography and style with her own unique ideas of movement. The first DVD of this two DVD set presents film and video footage by filmmakers, including Babette Mangolte, Carlotta Schoolman and Jonathan Demme, of eighteen of Brown’s major performances from 1966 to 1979. 
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Olaf Breuning - Home 2 (2007)
Tuesday, May 20, 2008
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Born 1970 in Schaffhausen, Switzerland; lives in New York, New York
Commingling reality and illusion, authenticity and artifice, barbarism and civility, Olaf Breuning creates photographs, films, sculptures, and installations that draw heavily from popular culture and a collective visual iconography. He combines these contemporary aesthetics with more primal shared drives: violence, sexuality, ritual, and companionship. The divergent impulses collide, often with absurd and hilarious results, as Breuning exploits the thin line between humor and pain.
In his 2007 exhibition at Zurich’s Migros Museum für Gegenwartskunst, Breuning employed art transport boxes as supports for his photographs, drawings, and sculptures. The crates and packing material, which also frame the exhibition’s architecture, take on multiple connotations as vehicles of transport and change. Arranged in a plexiglass showcase, dozens of small ceramic pieces, each incongruously fitted with a pair of large cartoonish eyes, comprise The Collectors (2007). These comical figures, mounted on the side of a carton and staring into the exhibition space, conjure comparisons to the collectors who roam international art fairs, frenziedly purchasing and packaging works. In the chromogenic print 20 Dollars (2007), five young African boys, slightly bemused but smiling broadly, present to the camera $20 bills given to them by the photographer. The detritus of a smoldering garbage heap is strewn around their feet. Mounted on and framed by an oversize shipping crate balanced on a smaller box, the glossy photograph appears broadcast from a largescreen entertainment center, underlining the distance between subject and viewer. The disparities illustrated by the image, especially between the entrenched poverty and easily gained currency, suggest the futility— and perhaps offensiveness—of looking to tourism and globalization as effective vehicles for change in this impoverished scene.
At the center of the Migros exhibition is Home 2 (2007), a video in which Breuning expands on themes of dislocation, homelessness, and cultural identity explored in his 2004 video Home. Here the original narrator, again played by actor Brian Kerstetter, joins a tourist group traveling through Papua New Guinea. He stumbles his way through assorted villages and tribes, variously charming or insulting his fellow tourists and the “natives” he encounters. In this foreign environment his mind is transported to locations of previous travel or fantasy as he sifts through notions of identity and belonging. Home is a universal, but also a specific, construct. “Each has a home they want to go to, like me,” the narrator opines as his journey comes to an end. The viewer is left with the distinct notion that neither the traveler nor the world he has left is enriched by the experience. Contextualizing the helplessness of today’s global citizen, Breuning examines a basic human quest for commonality in an increasingly global, but ever more fragmented, world. STACEY GOERGEN
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Harun Farocki - Gefängnisbilder aka Prison Images (2000)
Wednesday, May 14, 2008
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A film composed of images from prisons. Quotes from fiction films and documentaries as well as footage from surveillance cameras. A look at the new control technologies, at personal identification devices, electronic ankle bracelets, electronic tracking devices. The cinema has always been attracted to prisons. Today's prisons are full of video surveillance cameras. These images are unedited and monotonous; as neither time nor space is compressed, they are particularly well-suited to conveying the state of inactivity into which prisoners are placed as a punitive measure. The surveillance cameras show the norm and reckon with deviations from it. Clips from films by Genet and Bresson. Here the prison appears as a site of sexual infraction, a site where human beings must create themselves as people and as a workers. In Un Chant d'amour by Jean Genet, the guard looks in on inmates in their cells and sees them masturbating. The inmates are aware that they are being watched and thus become performers in a peep show. The protagonist in Bresson's Un Condamné à mort s'est échappé turns the objects of imprisonment into the tools of his escape. These topoi appear in many prison films. In newer prisons, in contrast, contemporary video surveillance technology aims at demystification. (Harun Farocki)
Full untouched DVD released from Goethe Institut. German audio; Spanish, French, Russian, English, Japanese, Portuguese, Deutsch, Zulu subtitles.
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Ken Adams - Strange Attractor (2003)
Tuesday, May 13, 2008
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Reviews:
Trippy psychedelic graphics, weird techno storyline, November 8, 2003
Reviewer: A viewer (Hoboken, NJ USA)
Truly amazing! Better than Alien Dreamtime, but in the same vein. The graphics are even better, and the music is compelling even without Stephen Kent on didgeridu. What this one has that AD lacks is a storyline with characters. If you're familiar with Terrence McKenna's writings, you'll have no trouble figuring out what "blue apple" really is!
Psychedelic experience, September 26, 2003
Reviewer: zap (Austin, Tx US of A) - See all my reviews
very interesting... Lady Miss Kier (of Dee-Lite fame) makes a groovy and bizarre appearance. great CGI stuff here, plus an interesting storyline that weaves in and out of the graphics. philosophical, makes you think...
Neo-psychedelia at its finest. - Patrick Sanders, Movie Mania
An experience that viscerally demonstrates, in
sight and sound, the phenomenal power of the psychedelic imagination and eroticizes intelligence. - Robyn Sean Peterson
One of the most meaningful projects to come out of the Rave culture thus far.... frequently stunning visual mélange. - Alternative Press
Rose X's relentless image mutation is the richest, most nuanced motion picture psychedelia this reviewer has ever seen with his eyes open. - City Pages
... transcends the historical and the anthropological...stretch psychedelic computer effects to new limits. - R.U. Sirius in Wired
Rose X is using the same techniques explored by techno/electronica and applying them to film.
...The psychedelic imagination is on the rise and computers are providing the sounds and images for the journey. - Interview with Rose X in Fringecore Magazine
Cast:
Terence McKenna, Lady Miss Kier of Deee*Lite, Britt Welin, Ken Adams
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Glauber Rocha - Abertura (1979)
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"One of the most daring and radical show presented in the brazilian television: "Abertura". It was broadcasted between february an june, 1979 with weekly editions, presented by brazilian filmaker Glauber Rocha ("God and the Devil in the Land of the Sun", "Anguished Land" etc). The video is a compilation of interviews, statements and characters about the political and cultural situation of the country during the Mitary Regime."
Directed by: Fernando Barbosa Lima and Glauber Rocha
Broadcasted by: TV Tupi
Runtime: 49 minutes
Color: Black and White
Audio Language: Brazilian Portuguese
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Christian Marclay - More Encores (1988)
Monday, May 12, 2008
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Track listing: Johann Strauus, John Zorn, Martin Denny, Frederic Chopin, Fred Frith, Louis Armstrong, Arthur Ferrante & Louis Teicher, John Cage, Maria Callas, Jimi Hendrix, Jane Birkin & Serge Gainsbourg, Christian Marclay.
Since 1979 Christian Marclay has been experimenting, composing and performing with phonograph records. His interest in records, both as objects and bearers of sound, is expressed through sculpture, performance, video and music. In performance, he mixes a wide variety of records on up to eight turntables, fragmenting, repeating, altering speeds, playing the records backwards etc.
"One of the best improvisers around" said the Village Voice. Marclay has performed in Japan, Europe, the USA and throughout New York City, often collaborating with such avant-garde composers as John Zorn, David Moss, Elliot Sharp, Fred Frith, Arto Lindsay and Shelley Hirsch among others.
MORE ENCORES was originally released as a 10" vinyl record on No Mans Land in 1988, "composed entirely of records after whom each track is titled. "John Cage" is a recording of a collage made by cutting slices from several records and glueing them back into a single disc. In all other places the records were mixed and manipulated on multiple turntables and recorded analog with the use of overdubbing. A hand-crank gramophone was used in "Louis Armstrong"."
MORE ENCORES is a classic slice of primal Plunderphonia, the natural companion to John Oswald's suppressed Plunderphoncs masterpiece, featuring a series of viciously beautiful vinyl collages from this important and infulential sound sculptor and turntable terrorist.
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Peggy Ahwesh - 73 Suspect Words & Heaven's Gate (2001)
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Two text videos from a series that distills to a poetic and symbolic core, a variety of texts, source code, search results, and/or coded messages from the unruly databases that glut the net.
Only available on the DVD Pistolary: Films and Videos by Peggy Ahwesh.
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